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PUBLISHED BY 

TIiESCH9nL APsTSMAmZinE 

THE DAVIS PRESS •44 PORTLAND ST- WO?CESTER-MflSS 




Indian Decorative Designs 

PEDRO J. LEMOS 

Editor of The School Arts Magazine 




Pueblo Woman 
and Indian Pottery 



MERICAN designers, for 
many years have studied 
design sources of the 
Old World for inspira- 
tion and guidance in 
producing designs for 
American industrial art 
requirements. Egyptian 
Grecian, and Renais- 
sance sources were rigor- 
ously studied and rigidly 
copied. The result was 
that American homes 
became decorated with 
forms and motifs, ex- 
cellent in source and 
fitted to the land of 
their birth, but unre- 
lated to a rkew period 
and in most instances 
unadaptable to a differ- 
ent background. 

As archaeologists and 
anthropologists brought 
gradually to light, the architectural and utili- 
tarian objects used by the earlier inhabitants 
of North and South America, a new source 
of American design became evident. It was 
found that beautiful enrichments of various 
materials had been made by the Incas of Peru, 
the Toltecs, the Mayans, and Aztecs of Mexico; 
that the Indian tribes of Central America had 
wrought wonderful gold ornaments; that the 
Indians of the time preceding Columbus' dis- 
covery of America had produced beautiful forms 
of pottery as well as weavings. They found 
that the Indians of present periods were using 
interesting and unique design symbols derived 
from nature and that these motifs were valuable 
for American designers. 

Artists in America and Europe were quick to 
recognize the value of the material. Designers 
and artists of European countries have traveled, 
visiting and sketching many of the Aztec and 
Mayan ruins for their architectural motifs, and 
museums the world over have gathered the 
woven textile fragments and pottery, because 
of the value that they impart to the decorative 
arts. This contribution from the early art 
craftsmen of America gave to the world a 
decidedly new note in decorative enrichment. 

Where the early arts of the Old World had, 
through years of refinement and elaboration, to- 



gether with the ornate period of the Renais- 
sance, become over-intricate, the arts of the 
early Americas come on the scene in contrast 
with a bold, almost crude, but refreshing 
simplicity. 

As years have gone by and the art of the 
Indian has waned in output, because of lessen- 
ing numbers, and their intermingling with white 
men, the appreciation of their handicrafts has 
increased. As a step toward preserving the 
decorative arts among the Indians several of the 
American museums, notably the one of Santa 
Fe, New Mexico, have encouraged the Indians 
to continue their arts. By creating markets 
and offering premiums and prizes at annual 
exhibitions, their fine arts are being fostered. 

It has been found that among the aborigines 
and the primitive peoples most of their decora- 
tions come from natural forms. These forms 
may become so symbolic that their source in 
nature may hardly be traced but the abstract 
form has been found by them and more fittingly 
applied to their objects of use. 

The primitive tools used by these primitive 
workers undoubtedly have guided them by 
necessity to use the fewest lines possible, and to 
decorate their utensils and weapons in the sim- 
plest ways. This has resulted in motifs that 
are well worth studying by the modern artists as; 
examples of simplicity and restraint. The great 
fault of much of the modern design and the 
tendency of the design student is to think in 
terms of intricate subjects and elaborate surface 
decorations. 

The good designer never defeats the surface 
of the object decorated with the decoration that 
is applied. He knows that the design which 
indicates not only width and height, but also 
thickness, cannot become a unified surface 
decoration. He knows that a subject that ap- 
pears to have superimposed parts cannot but 
appear to be in perspective upon the surface 
and therefore is a separate idea from the surface 
upon which it rests. 

The remarkable outstanding principle in re- 
viewing the fine decorative designs that have 
been recorded from the work of the American 
Indian and other primitive workers, is that the 
flat relation of a design to its material is fully 
recognized. The design is refitted to the 
material needs. One feels, in seeing their handi- 



OUTLINE FOR COURSE OF STUDY 



1 . Select three typical motifs from the Aztec designs. 
These motifs to be small units that occur throughout 
Aztec decorations. Trace these designs and memorize 
their forms. Produce a. border 2 x 10 inches in black, 
using only a brush and ink. The border to be made by 
rep)etition of one of the Aztec motifs selected. 



2. Make a border 2 .\ 10 inches using two different 
but harmonious forms of Aztec motifs. Use orange and 
grc.'i>'.iii' tor colors. 



3. Draw an Aztec bird or animal to become familiar 
with the line arrangement of these Aztec decorations. 
Apply a bird design to a circular panel seven inches in 
width, adding a dark background. 



4. Arrange an animal design similar to the Aztec 
t>T>es within a square 6x6 inches. Add a narrow Aztec 
border around the space. Make in black and orange- 
red. 



5. Selecting a picture of a bird native to the students' 
community, have the students design it after the manner 
of the Aztec, Mayan, or Toltec designs. 



6. Plan an all-over pattern for a block printed textile, 
the design to be a checker arrangement of squares 4x4 
inches. Alternating squares to be birds or animals and 
a geometric motif. 



7. After reading about the life and customs of the 
Pueblo Indians of New Mexico and Arizona select six 
different motifs or units from the Pueblo Indian plates 
and draw them on a sheet of paper. Combine two or 
more motifs into a border design. 



8. From black or tan colored paper cut a bowl de- 
sign. Indian in shape, and paint £ border on it using 
black, white, and deep red colors. Place the border in a 
well balanced location. 



9. Plan Pueblo Indian bird design for a six-inch 
square. This may be used for a box cover design, a tile, 



or for block-printing a scarf. 



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INDIAN DECORATIVE DESIGNS 



10. Plan a booklet cover with a short title such as 
Indian Life, or Indian Stories, and plan an Indian 
decoration for the cover. This may be an all over 
pattern or a border top and bottom. The design may 
be stencilled on, or stick printed with water color or 
tempera paint. 



11. Design a circle space 10 inches wide within 
which a plant form and birds will be placed, all to be 
done in the Indian manner. 



12. Plan a shape for a basket, using a design devel- 
oped by repeating triangle shapes. These shapes may 
vary in size and be combined to make other forms. 



13. Design a border for a drapery, using the Guata- 
mala Indian forms for a border. Design an upright 
border with Guatamala Indian birds. Design a border 
for four sides of a square scarf with geometric design 
similar to the Mexican Indian types shown in Plate 23. 



14. Design three jewelry designs, pendants, or pins, 
following the characteristics of the Colombian Indian 
jewelry shown on Plate 6. 



15. Design a brooch or buckle after the jewelry 
forms made by the Navajo Indians. These may be 
made on gray paper which is then pasted onto black, 
or black and white tempera may be used on gray paper. 
Turquoise color may be added for stones. 

16. Design shield motifs for an Indian pageant. 
Study the Cheyenne Indian crests shown on Plate 22. 
Design decorations for a leather magazine cover or hand 
bag, following the design forms shown on Plates 21 and 
22. 



17. Plan a design for a box cover or small chest to be 
carved or decorated in Reliefo or Gesso following the 
decorative manner of the Haida Indian. See Plate 24. 



18. Read about the Incas and their ancient cities. 
Plan a booklet that will have a designed cover and 
inside titles. Plan a Peruvian tile design to be made in 
color cement for a fireplace. 



10 



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crafts, that weaving, or pottery material, or 
wooden surface always set the limitation to 
what the craftsmen should attempt. If the 
American student can secure this desirable 
quality of design restraint, he has achieved a 
great step in progress. And the student can 
secure this by a careful study of the works of the 
American Indian, many of which are shown on 
the plates of this portfolio, A review of those 
plates will show different types of work, all, 
however, unified by the same simplicity and 
fitness to their purpose. 

In Plates 1 and 2, and 9, 10, 11 and 12, are 
shown motifs from Toltec, Mayan and Aztec 
Indian sources. The Aztec derived mariy 
design motifs from the Mayan Indian and in 
turn the Mayan Indian secured ideas from his 
predecessor, the Toltec. 

The border designs are bold and massive in 
quality. The strong quality of their forms 
reminds one of their great pyramids, still stand- 
ing in Mexico, and the great stone buildings 
that have been recently excavated in Yucatan. 

One finds interesting light patterns against 
their dark portions and on second glance it is 
realized that the dark portions are equally 
interesting against the light form. It will be 
found repeatedly that equal consideration has 
been given by these early artists to both the 
forms that were used in the design and that the 
parts of the background left remaining were 
thoughtfully studied and formed. 

In Plates 3 and 4, 5, 16, 17 and 18, we find 
motifs by the modern American Pueblo Indians, 
These motifs in many ways have the same 
characteristics as those of the Aztecs. In fact, 
it is due to these characteristics that many 
archaeologists lay claim to their statement that 
the Pueblo Indian of the United States is but 
the descendant of Aztecs who long ago crossed 
the Rio Grande and built new homes in the 
north. 

The birds and animals of the Aztec and the 
birds and animals of the Pueblo Indian have a 
quality of life and alertness, conveying a "play 
element" trend on the part of the artist. One 
feels that the artist enjoyed including these 
nature creatures in his design. 

Plate 3 illustrates the weaving of some of the 
Indian motifs, and Plates 4 and 17 show excel- 
lent applications of the Indian motifs to pottery. 
While Plate 4 is modern pottery, Plate 17 is a 
prehistoric collection. 

Plates 27 and 28, in color, show more of the 
designs as applied to ceremonial figures and 
applied art forms, illustrating a good sense of 
space relation. 

In Plate 6 are shown typical jewelry forms 
found m the old burial places of the Indians of 



Colombia. The abstract human figure decor ii 
tions are well balanced and show good distribu 
tion of small and large parts. The use of gold 
wire as a filigree decoration is shown. Tlie 
fihgree, however, unlike the modem Mexican 
gold filigree, has not been over -used, or used m 
too small details. The scale of each whorl or 
spiral is in good proportion to the object. 

Plate 7 designs are those by modern Guat.-. 
mala Indians, as applied to weavings and en. 
broideries. These designs are similar to those 
used by their ancestors and are woven in brilli- 
ant threads against black or dark-colored back 
grounds. 

Plates 13, 14, 15 and Color Plates 25 and 26 
show designs from the work of the remarkable 
Inca Indians of Peru. The Inca designs have 
interested artists and designers immensely, and 
influenced many craftsmen toward a sin.: ' ■ 
but more thoughtfully arranged form of (i- 
Plate 15 shows the use of their design to p<^n* i .. 
and weaving. The student will learn much of 
good design by careful observation and analy- 
sis of the art of the Peruvian Indian. 

Plates 8 and 19 illustrate some of the Indian 
basketry designs and woven motifs. Simple 
arrangements of triangle or square forms, are 
the basis for many of their most pleasing de- 
signs. Reverse positions or alternating arrange- 
ments produce interesting arrangements. 

Plate 20 illustrates good examples of Navajo 
silver work. In combination with the silver the 
Navajo uses the turquoise stone. This stone 
has a religious significance symbolizing the sky 
and is much cherished by the Indians. 

Plate 21 shows good designs by the Winne- 
bago Indian, while the lower section shows 
quaint copper ornaments found in the Ohio 
Indian mounds. 

The crests and rawhide bag designs have ex- 
cellent suggestions for school pageantry motifs 
and for decorations of leather or textile material. 

Plate 23 shows strong textile and pottery 
motifs by modern Mexican Indians. Plate 24 
presents animal totem pole motifs from the 
Haida Indian of the North Pacific sections of 
North America. These plates show strong 
positive design arrangements, a good influence 
for the hesitant over-detail-inclined student. 

American sources present a wealth of ma- 
terial for the American student. It is hoF>ed 
that with all the study of the world's rich 
gathering of design forms that the student will 
include those forms so excellently achieved by 
the early designers and craftsmen of the Amern 
can continents and thereby more truly achieve 
an American expression in the design created 
for use in America today. 



PLATE 1 




A group of Aztec bird 

designs from old Aztec 

manuscripts 



IMDIAir DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS • THE DAVIS FRESS, WORCESTER, MASS. - COPYRIOBTBD - ALL RIGHTS RBSSaVKD 



I 



PLATE 2 




Azcec borders and 

motifs found in 

Mexico 



INDIAN DECOKATIVE DESIGN SCHOOL ARTS PORTFOUOt - THE DAVIS PRESS, WORCESTER, UASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 3 




American Pueblo Indian 

design motifs and their 

meaning 



INDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, UA38. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 4 





PuGblo 




•'Potter"*^ 



Indian Pueblo pottery 
designs from 
New Mexico 



INDIAN DECORATIVE DESIGN SCHOOL A»T» PORTFOLIOS THE DAVIS PRESS WOECBSTEE MASS. • COPTRIGBTBD - ALL RIGHTS RESERVED 



PLATE 5 




Bird designs used by the Pueblo 
Indians on their poccery. Boccom 
row shows abstract bird motifs 



Il«t>tAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 6 




CQLOMBWN INPlAlst JEWGLRV OesiQf<S 



Jewelry designs from gold 
ornameocs made by Indians 
of Colombia. So. America 



INDIAN DECORATIVE DESIGN SCHOOL AIITS PORTFOLIOS - THE DAVIS PRESS, WORCESTfeR, MASS. - COPYRIGHTED - ALL RIGHTS REflERVED 



PLATE 7 





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Bird, animal and figure 

designs from Guacamala 

Indian weavings 



INDIAN pECO&ATlVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COl>YRICHTED - ALL RIGHTS RESERVEL" 



PLATE 8 




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Basketry designs from 

different Indian tribes 

of North America 



Indian DECoaAWVB design tciiooi Aiki roirroiios - rilB DxVia mess. woftCE.TEi, ua»*. - copteighted - all ricbts reserved 



PLATE 9 




Maya Indian designs froiii 
Mexico. The Maya Indian 
preceded the Aztec Indian 



[NDIAN DECORATIVK DESIGN 



DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 10 




A group of designs from old pottery 

and stone carvings made by the early 

Maya Indians in Mexico 



INDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. COPYRIGHTED - ALL RIGHTS RE 



3 RESERVED 



PLATE 11 





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Aztec Indian 

designs found 

in Mexico 



tNDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 12 




Aztec borders and a 

Tolcec panel froni a 

cercnionial bowl 



[NDIAX DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS. WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 13 




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Designs from old Inca 
Indian weavings found 
in Peru, South America 



INDIAN DECORATIVE DESIGN' SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 14 




Bird, animal, fish and plane designs 

made by the Inca Indians of Peru, 

South America 



[NDIAX DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 15 




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A Peruvian Indian weaving and 
two bowls showing their applica- 
tion of design to objects of utility 



INDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS. WORCESTER, MASS. 



COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 16 




Designs by the Zuni Indians 

of North America. Used on 

their poccery 



[KDIAX DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS -THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 17 




Pre-Columbian Indian pottery 

taken from excavations in 

New Mexico 



[NDIAN DECORATIVK DESIGN SCHOOL ARTS PORTI- OI.IOS - THE DAVIS PRESS. \\ORCESTKR. MASS. - COPYRIGHTED - AM. RIGHTS RESERVED 



PLATE 18 



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HOPI INr7I/lM PeSIGNS 



Borders and Poctcry designs 

by the Hopi Indian of 

North America 



[NDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 19 




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'a^. CLOTH 



BREGCK CLOT.- 



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Navajo Indian weavings for 
wearing apparel and cere- 
monial purposes 



INDIAN DECORATIVE DESIGN SCHOOI, ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS Ri:SERVED 



PLATE 20 




Hand wrought silver work 
designs by the Navajo 
Indian of North America 



NDIAX DECORATIVF. DF.SIGX SCIIOOI, ARTS PORTFOLIOS - Til F DAVIS PRESS. WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 21 




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Designs by the Winnebago Indians 

of Wisconsin and copper ornaments 

by early Indians of Ohio 



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[NDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 22 



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CHEYENNE INPIAN CRGSTS 




IHPMH Rr^lWHIPE B/^OS 



Symbolic designs used as crests by 

the Cheyenne Indians. Decorated 

rawhide Indian food bags 



tNDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 23 




Mexican Indian designs 

from textile and pottery 

sources 



INDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. -- COPYRIGHTED - ALL RIGHTS RESERVE© 



1 



PLATE 24 




Haida Indian designs from che North- 

western section of North America. 

From carvings in slate and copper 



INDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERV: 



PLATE 25 




Animal designs by 

Peruvian Indians of 

South America 



[NDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 26 




O ® 0®0®Q©Q0OO0OO0 00 OO 
OOOQQOO®OOOOOOOOOOOOOOC 





I>€!^UVIAN 1NE>1AN &OR[><:ft$ 




Bird borders from textiles and 

pottery designed by the Indians 

of Peru, South America 



[NDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 27 




Hopi Indian ceremonial dolls 

and woven crests from Arizona, 

North America 



INDIAN DECORATIVE DESIGN SCHOOL ARTS PORTFOLIOS - THE DAVIS PRESS, WORCESTER, MASS. - COPYRIGHTED - ALL RIGHTS RESERVED 



PLATE 28 



Animal and bird motifs 

from Indian Pueblos of 

North America 




L6A|?9 



INDIAN DECORATIVE DESIG.V SCHOOL ARTS PORTFO 



T.TDS - THF. nAVIS PRKSS. W 



ORCF.STER. MASS. - COPYRIGHTED - ALL RIGHTS RESERVED- 



